Linda Bruno: Voiceover Guru

Linda and I were thrust together because of a casting my former employer did, and just clicked. She is an inspiration and she's a big part of the reason for my voice over career. She's always been sort of a North Star for me. WWLD right? Some of the stories I got her to tell you I've heard before, some are new to me, but Linda's storytelling always bring a smile to my face. Read on to learn how Linda gor started in VO, the experiences that got her to where she is today and learn about the The Voiceover Gurus! At the end, Linda provides some handy links so you can check her and the Voiceover Gurus out and maybe take some coaching yourself!

So, I want to take you back to Florida and meeting Connie Zimet. Was that the beginning of your interest in voice over, or were you already working on it?  Were you super lucky to have Connie as your first coach, or were there others before her? Talk a bit about Connie and how you met and why that experience meant so much to you.

You never really see those life-changing moments coming, right? They just sneak up on you.

Mine did when I was 18, down in Miami.

My dad was the Vice President of Marketing for a personal care company called Windmere. He’d spend his days directing talent at commercial shoots and voiceover sessions, though at the time, I didn’t really understand what that meant. I just knew he came home with stories about production days and ad campaigns.

I’d grown up on stage—musical theater, choir, air bands, anything that let me perform. So one day, he asked if I wanted to tag along to a voiceover session, just to watch. Why not?

The talent that day was a woman named Connie Zimet. I can still picture her—sitting in a glass booth, headphones on, eyes focused. My dad leaned into the talkback mic and said, “Take two seconds off the end,” then, “Slow down the opening.” She adjusted instantly. Smooth. Precise. Effortless.

And I remember sitting there, completely mesmerized, thinking, I don’t even know what she’s doing… but I want to do that.

Connie Zimet was the top voiceover talent in Florida at the time—respected, booked solid, and known for coaching other voice actors who wanted to break into the business. My dad had worked with her for a few years, so he asked if she’d mind letting me sit in on one of her classes.

Now… I can only imagine what she was thinking. Probably something like, “Oh great, my client’s kid wants to come to class.” But Connie being Connie—gracious, kind, totally unflappable—welcomed me in with open arms.

Her studio was in her backyard, completely separate from her house. You’d walk through these sliding glass doors into this cozy little creative hub. Inside was a booth, a mixing board, and even a producer running the session—JJ Wilson, who was a bit of a legend himself.

So there I was… eighteen years old, sitting in a room with about eight other people, all of them in their thirties or forties, all working in radio. To say I was intimidated would be an understatement. I didn’t belong there—or at least that’s what I thought.

I sat quietly, just listening. One by one, everyone stepped into the booth and read. Their voices were so confident, so polished. I was in awe. Then, near the end, Connie looked at me and said, “Linda, why don’t you give one a try?”

I froze for a second, then picked up a script—some kind of retail spot, I think—and gave it my best shot. I read it, tried not to overthink, and when I finished, I figured that was it. No one said anything. Like “silence”. So I figured I’d just say thank you, quietly slip out, and go back to my regular life.

But Connie stopped me. She put her hands on my shoulders, looked me right in the eyes, and said, “You should pursue this career. You could make a lot of money doing voiceover.”

I’ll never forget that moment. It was like time slowed down for a second. Someone I deeply admired saw something in me that I hadn’t even seen in myself yet.

That was it. That was the spark. The moment the voiceover bug bit me—hard.

My dad’s nudge, Connie’s encouragement… it changed everything. And I’ll be forever grateful.

So when you got into radio, were you in college and dreaming of a radio career, looking for something to facilitate VO, or just free concert tickets? Is this when you met Peter Thomas? How did that happen? Was it because he was narrating Forensic Files? What about him stuck with you?

As it happens, being a radio jock was the last thing on my mind. I had blinders on—completely laser-focused on becoming a voice actor.

Back then, there was this small, elite group of talent who booked everything in Florida. They were so good, it was honestly intimidating. But in my brain, I kept thinking, “Okay… where can I get behind a microphone so I can practice?”

And then it hit me—a radio station!

So I grabbed my demo—an actual cassette, mind you—and sent it to every single station in Fort Myers, Florida. And I got… crickets. Not one reply.

Eventually, one station called me back. Austin Keyes, who I believe still does VO. I was thrilled—until I found out it was for an internship. My job? To call random listeners during dinner and ask if they recognized certain songs. And the pay? Concert tickets and CDs.

But I didn’t care—I was in a radio station!

I remember asking the production director, Rick Peterson, if I could just watch him while he worked. He probably thought, “Sure, weirdo.” But I didn’t care. I was obsessed. Laser-focused. I had no idea that radio stations didn’t actually hire voiceover talent—they just used their own jocks!

So, I pivoted. I took a regular nine-to-five job in the business office doing collections, thinking maybe I could pick up an air shift on the side. Nope. They turned me down flat. Told me I wasn’t good enough.

Alright then!

I sent my demo to a country station instead, and the program director, Paul Orr who is also still doing VO, gave me a call. Not for VO work—but to try me out as a DJ. And of course, I said yes. Because, hey—still behind a mic, right?

So there I was, playing new country music, clueless. It wasn’t voiceover, but it was something.

And that’s when Brian Lee walked in. He was an audio guy helping Paul with the sound of the station, and we hit it off right away. Turns out, Brian owned a production company—Advantage Productions—and he had the only ISDN line in town.

Back then, ISDN was the holy grail. It’s how all the top talent recorded remotely in studio-quality sound. And one day, Brian told me, “Hey, Peter Thomas is coming in to record. You should come watch.”

Now, Peter Thomas was legendary—the voice of Forensic Files, Nova, Biography… you name it. I could barely believe I was about to watch him work.

It was life-changing. He was so precise, so effortless—just a master.

Afterward, he even listened to my demo and offered to send it to his agent in New York. I thought, this is it!

The agent called back and said, “She’s not ready.” Ouch.

But honestly? I didn’t care. Peter Thomas himself had just introduced me to his agent! And he gave me a piece of advice I’ve never forgotten.

He said, “Buy a medical dictionary and learn how to pronounce the words. There’s a real need for people who can do that in voiceovers.”

It was such a simple, golden nugget of wisdom—practical, specific, and straight from one of the best in the business. Did I take his advice? Nah…yeah, I was 24.

However, as you know, I ended up working for Pfizer through you for approximately 10 years.

So you moved to New York and struck out in search of an agent. Brave! Did it take you long to get picked up? 

I started getting a few commercials through Brian’s company… and little by little, some clients I’d found on my own. I was making forty dollars a script—sent by fax! Fax! But then I landed a few car dealerships who started booking me every month, and suddenly the money got a lot better.

It was my first taste of regular income. And when you’re making $18,000 a year in the business office, an extra eighteen hundred dollars a month feels like winning the lottery.

That went on for about two years. But deep down, I knew I was meant for more. I’d hit the ceiling in that market—financially, creatively—and I could feel it.

Back then, if you wanted to do voiceover seriously, you went to New York, L.A., or Atlanta. And I thought, If I don’t do this now, I’m going to regret it for the rest of my life. I had ambition.

So I started planning my move.

My boyfriend at the time was from Long Island and said I could stay with his mom if I wanted to test the waters in New York. Sure. But I wanted my ducks in a row first.

I asked the radio station consultant if he worked with any stations on Long Island and if he’d put in a good word for me. Turns out, he did. He recommended me to an adult contemporary station—KJOY 98.3—and gave me a glowing review.

I even flew out to Los Angeles for a conference called ProMax so I could meet agents face-to-face—kind of like VO Atlanta before VO Atlanta existed. Every single agent told me the same thing:

“Call me when you get to New York.”

That was the best commitment I could get.

So I doubled down on my own marketing. Corny, but memorable. I mailed out lottery tickets with a note that said, “Take a chance on me.” A pair of shoelaces with a note that said, “You’d better tie your shoes because I’m going to blow your socks off!”

Cheesy? Totally. Did I care? Not at all. I was laser-focused.

And still, the same response: “Call me when you get to New York.”

That sealed my fate.

So, in 1997, I jumped. I left my boyfriend. My roommate. My apartment, my car, my full-time job. And I moved to New York. No safety net—just belief. Just a leap off the cliff.

But my persistence paid off.

Within just two weeks of moving to New York—two weeks!—I landed my very first agent: J. Michael Bloom. And on top of that, I was hired at KJOY 98.3, the very same station that had been recommended to me.

It was a union station, which I didn’t fully understand at the time. But I was about to find out what that meant—and how much it would change the game for me.

Some people say luck has a hand in it, and maybe that’s true. But I’ve always believed in something: “Opportunity plus hard work equals good luck.”

And in that moment, that’s exactly what it felt like—years of hustling, hoping, and refusing to give up… finally coming together.

What was your very first paying VO gig? Did you get that through an agent, or by making your own contacts? Do you still have a copy?

The first gig was really the car dealerships, since I don’t recall the smaller stuff. No copies though, although Brian may have something.

Was there a “pinch-me” moment in your career when you realized, This is really happening?

When I got the agent for sure!

What’s the most surprising feedback you’ve ever received about your work, or alternately, the feedback that excited you the most?

Probably from a few casting directors at the time. We were face-to-face which was unnerving, but sometimes after I would audition, one would say what an amazing actress I was, or how my voice was as clear as a bell. And that… that stuck with me.

These were people who worked for the top ad agencies in the country—people who heard hundreds of voices a day. And to have them say something like that? It lit me up.

It was one of those early moments where I thought, okay… maybe I actually belong here.

Who has been your most influential mentor or cheerleader in the industry? Is there someone you keep in touch with because they inspire you? Do you still take coaching, and if so, who with?

Brian Lee

Brian Lee

Not so much anymore, although I’ve done a few workshops with NY casting directors.

Can you recall a project that pushed you completely out of your comfort zone — and what you learned from it?

One of the most fun and formative parts of my career was working with American Comedy Networks.

Every single day, there was a new batch of comedy bits waiting—freshly written by some of the most ridiculously talented writers I’ve ever met. And they’d throw me all kinds of wild characters and scenarios to voice. One minute I was a soccer mom, the next I was an alien news anchor, then a diva pop star selling shampoo. It was improv heaven.

I ended up working with them for fifteen years as their lead female voice. Fifteen years! And honestly, it was always one of the best parts of my day. I miss it.

But more than anything, that experience taught me something invaluable: the power of letting go.

When you’re constantly improvising—playing, experimenting, taking creative risks—it keeps you sharp. It trains you to trust your instincts. And when you walk into any session after that, you’re ready for anything.

Because once you learn how to let go and just play, you can grab onto any direction, any rewrite, any surprise—and make it work. 

You’ve worked hard to establish yourself, and today work in a LOT of different genres. There’s a difference between being capable of a lot of things, and having one thing that feels so good and natural to you it’s like spreading butter on hot toast.  What genre is that for you, and why do you think that that one does it for you?

I’ve found that I’m most at home with TV promos and retail spots. They just… flow for me.

There’s something about that upbeat, happy energy — it fits my natural voice perfectly, which works wonders for retail. It’s conversational, it’s friendly, it’s that little lift that makes people lean in and listen.

And then there’s TV promo — that’s where I get to play with emotion. I love the shifts, the drama, the intensity, the subtlety — all those tiny nuances that make a line pop.

It’s the best of both worlds for me — fun and fulfilling. And honestly? TV promos have been the most lucrative part of my career. But more than that, they just feel right when I do them. 

How did you find it? Were you just like,”Oh, that’s it” or did you intentionally seek to find your genre?

Nah, it was all just from auditioning for anything and everything that came my way. You start to figure it out pretty quickly — if you’re getting hired, you must be doing something right!

You’ve built a coaching and training program in The Voiceover Gurus. You share studio space with Dave Goldberg. How did you meet your other fellow coaches, Allyssa Jayson and Kevin Kilpatrick? 

Alyssa Jayson and I have been friends for over twenty years now. She used to work with Dave, hiring him for voiceover and production projects she was supervising, and that’s how we met—she’d come into the studio from time to time. Eventually, she decided to take voiceover lessons with me, and fun fact—she was one of my very first students!

Kevin Kilpatrick and I first connected on Voices123. He needed a female voice for some car dealership spots, and—voilà!—that’s how it all started.

How do you balance auditioning, recording and the demands of running The Voiceover Gurus?

Honestly, these days I’m tired! 😂 I don’t audition like I used to because I’d rather put my energy into coaching. VO has been an incredible ride, but after 30 years in the biz, I’ll admit I’m a little burned out. I’m so grateful to have found a new sense of fulfillment through coaching and building The Voiceover Gurus community — it keeps the passion alive in a whole new way.

What’s special about The Voiceover Gurus? How do you stand out against all the other coaching options out there?

We’re brutally honest. I mean, truly—no sugarcoating, no fluff.

I consider myself a true New Yorker now, and I say things the way I see them. Because here’s the thing—if this isn’t a realistic path for someone, I don’t want them wasting their time or their money chasing it.

This craft takes grit. It takes talent, yes—but also patience, resilience, and a whole lot of self-awareness.

And that’s why honesty matters.

I’ve always believed that what we do isn’t just about teaching voiceover—it’s about helping people grow into their own talent. Helping them see what’s real, what’s possible, and what they’re truly capable of if they’re willing to put in the work.

That’s the difference between a coach who flatters… and a coach who cares.

That’s the heart of it for me. I’m not interested in churning out students or becoming some kind of demo factory. That’s never been the goal.

Every student who walks through our (virtual or real) door gets a completely customized experience—because no two voices, no two journeys, are ever the same.

And honestly? It’s not about the money. If it were, I’d have chosen a very different career path. Believe me.

We do this because we love it. Because we remember what it felt like to have someone believe in us when we were just getting started.

All of us at The Voiceover Gurus still work in other creative spaces—so if a student moves on, that’s okay. We celebrate it. We want them to keep growing.

And if that means getting coaching from someone else who can give them a different perspective? Fantastic. That’s what it’s all about.

You also work with kids, don’t you? Is that especially challenging?

The only kids I’ve ever really worked with were Broadway performers—young pros who already had representation and just needed a VO demo for their agent. It’s always been short-term, very specific coaching.

What’s the most common hurdle new voice actors bring to you — and how do you help them move past it?

One of the biggest challenges I see with students—and honestly, with all of us as actors—is learning how to quiet that critical little voice in our heads. You know the one. The one that won’t shut up.

It’s so common. We get behind the mic, and suddenly that inner critic starts whispering: “You sound weird.” “You’re not doing it right.” “They’re not going to like that take.”

Voiceover is hard. It takes years of practice—not just to develop your technique, but to trust it. To get to that place where you can finally lose yourself in the performance, instead of constantly judging it.

I’ve created a bunch of exercises over the years to help with that—to help people let go, get out of their own heads, and reconnect with the joy of performing.

Because the truth is, that inner critic never really disappears. We just learn how to turn down the volume and keep going anyway.

Has there ever been a student you thought might not “get there,” but surprised you?

Yes. I’ll never forget one of my very first students on the spectrum.

When she started with me, she barely spoke at home. On her very first day, she sat down to read a script and just… froze. The tears started, the frustration, the overwhelm. It broke my heart.

I told her, “Hey, it’s okay. Just breathe. It’s just us here. There’s no pressure.”

And little by little, she started to open up. One word, then a sentence, then a character.

Now—six years later—she can perform over thirty different characters. Thirty! She’s found her voice in every sense of the word.

She’s my star student. And every time I hear her perform, I think back to that first day… and how far she’s come.

That’s why I do this.

What are some professional habits or attitudes that make a talent highly re-hireable?

It’s really pretty simple.

Just like in any business—be responsive to your clients. Show up on time. Be respectful. Follow up. And my golden rule? Under-promise and over-deliver. Every time.

I always tell my students: put yourself in the client’s shoes. Ask yourself, “What could I do that would make their life easier on this project?”

Maybe it’s turning a file around faster than expected. Maybe it’s giving them two extra takes they didn’t ask for. Maybe it’s just being kind and professional when everyone else is stressed out.

Because when you make a client’s job easier, you don’t just book the gig—you build the relationship.

And that’s what keeps the work coming back and has for me since 1995.

Being that you were in theater as a kid, music is no stranger to you. In fact, don’t I remember a story about a single released when you lived in Florida? Is that a figment of my imagination?

Oh Barb… really? Okay, so—my short-lived dance single.

It was a cover of Bobby Caldwell’s “What You Won’t Do for Love,” recorded in a producer’s garage in Miami back in the early ’90s. You can still find it somewhere on the internet with alternate mixes called, “Bruno and the Beat”. Imagine total cheesy synthesizer, Miami!

And here’s the crazy part—it actually became a small hit in Italy! Italy!

I made… six hundred dollars.

And along those lines, I maintain everyone has one…What is your go-to karaoke song? 

None! Absolutely none! I refuse to sing karaoke.

My inner critic just won’t shut up — she’s relentless. The whole time I’m standing there thinking, “You’re off-key, you’re flat, everyone’s watching, abort mission!”

So yeah… I fail every single time.

I’ll happily cheer you on from the crowd, mic in hand, drink in the other — but me? Nope.

Go ahead and share some links to your website, The Voiceover Gurus and any social media links you’d like to share. Thanks so much for giving me a chunk of time! Be well, my friend!

Voiceover.GURU

@VOGuru

https://the-voiceover-gurus.circle.so/

LindaBruno.com (yes, I’m that old where I have my own domain name)